98th Symphony (Haydn)

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The Symphony No. 98 in B flat major. Hob.I: 98 wrote Joseph Haydn in the year 1791/92. The work is one of the famous "London Symphonies" and was premiered on March 2, 1792.

General

Franz Joseph Haydn (1732–1809)

For general information on the London Symphonies, see Symphony No. 93 . The work was premiered on March 2, 1792 in London as part of the "Salomon's Concerts". The symphony was received so enthusiastically that the two corner movements had to be repeated. The same was requested at a repeat performance a week later.

The symphony No. 98 has the following special features:

  • in the first movement motivic connection of the slow introduction with the opening allegro,
  • Allegro is based on just one theme and is technically dense,
  • particularly expressive second movement, which may represent a memory of Wolfgang Amadeus Mozart (see below),
  • exceptionally long final movement with harpsichord solo.

The work is the first symphony in B flat major in which Haydn uses trumpets and timpani. The autograph is said to have been in the possession of Ludwig van Beethoven in the past .

Examples of reviews:

"[The first movement] goes far beyond everything that Haydn demonstrates in earlier symphonies (including the Paris symphonies) in terms of elegance, contrapuntal skill and talent for combination, and all of this in the most natural way that one can imagine."

"The themes are very beautiful and varied, their treatment is masterful - it is incomprehensible why this symphony is heard so rarely."

“The B flat major symphony is anything but a simple work. (...) The finale is the most original of the group of works (...). "

"The final movement (...) is one of the loveliest not only of Haydn, but of symphonic literature in general."

To the music

Instrumentation: flute , two oboes , two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , double bass , harpsichord .

Haydn wrote the solo in the final movement in the autograph for “harpsichord”. A number of sources show that Haydn conducted his symphonies from the harpsichord at the concerts of his first stay in London; From 1792 advertisements and press reports speak predominantly of the " Piano Forte ". This indicates the use of a harpsichord (or pianoforte ) continuo , as was the performance practice of the time. Reports indicating a “Piano Forte” for Haydn's concerts from his first stay in London were made with considerable time lag (e.g. 1825), so that confusion with Haydn's concerts in the following years cannot be ruled out. The authentic copies and contemporary prints of Symphony No. 98 do not contain the harpsichord solo - presumably an indication that Haydn only viewed it as a joking interlude tied to himself.

Performance time: 25–30 minutes.

When it comes to the sonata form used here, it should be noted that this model was only designed at the beginning of the 19th century (see there). The description and structure of the sentences given here is to be understood as a suggestion. Depending on the point of view, other delimitations and interpretations are also possible.

First movement: Adagio - Allegro

Adagio : B flat minor, 2/2 time (alla breve), measures 1–14

In the introduction, the strings introduce the head of the theme in three shades, which also characterizes the following Allegro: an ascending triad in half notes (triad motif), followed by a figure descending in quarters (falling motif). Starting from B flat minor (bars 1–4), the repetitions are in G major (bars 5–8) and - as a variant with trills - in D flat major (bars 9–12). The second repetition is held in bound motion, the other two in detached motion. The introduction ends in the weighty, baroque screaming rhythm on the dominant F major. Due to the extensive leadership in unison , the restriction to strings and the slowly pacing rhythm, the introduction takes on the serious, gloomy, solemn character of a "pathetic recitative" .

Allegro : B flat major, 2/2 time (alla breve), measures 15–320

The main theme (bars 16-25) is initially only introduced by the strings. It begins with the major version of the B minor beginning of the introduction: the ascending B major triad in half notes (triad motif), followed by the downward movement to B major in quarters (descending motif). These two motifs, presented in unison, form the core of the topic. Like a follow-up, the downward movement is immediately repeated by the 2nd violin as a counterpart to a descending line in the 1st violin, which ends in a scroll. The falling motif then appears again in the bass, while the 1st violin repeats the squiggle motif in a lower register and then continues the falling motif with the 2nd violin. So here the suitability of the topic material for polyphonic processing is already indicated . In bar 27 the theme is repeated as a variant with the participation of oboe and bassoon, now without an appendix-like appendix.

The rapid forte-tutti block from bar 32 is characterized by its motif with a triple, knocking tone repetition and by upward and downward scales. If the emphasis is initially on the tonic in B flat major, from bar 51 Haydn changes to the dominant F major, which, after a passage with chromatics and accents, establishes itself in a further appearance of the main theme (from bar 59) (instead of a separate second theme) . The triad motif appears forte, the falling motif piano and with free continuation. From bar 67 a motif of four ascending notes develops, which is played echo-like from bar 71, alternating between tutti and woodwinds (echo motif).

After a piano passage for strings, another forte block follows in bar 95 with rapid eighth-notes and large interval jumps first in the upper parts, then in the bass, which leads to the final group. This (from bar 106) begins with the expressive oboe motif of four full bar notes, climbs up to a forte via a crescendo and ends the exposition with ornate triplet runs . The exposure is repeated.

Haydn begins execution (cycle 132-208) with a pedal in the bass to D, over which the two designs of the main subject in the alternation of D-major and minor g occur with staggered use of the triad motif in the woodwind. After moving the theme to E flat major, a longer, polyphonic passage begins in the forte in bar 146, which mainly uses the triad motif and changes from B flat major to C minor, E flat major and F minor. From bar 157 continuous eighth note chains are added in both violins, which condense the action. An upbeat, fanfare-like tone repetition motif appears for the first time in measure 169 in G major and then appears again - next to the now dominant eighth notes of the violins - in C minor and finally at the climax of the development in D major (from measure 183) , also supported here by the brass section. The echo motif from the exposition then follows seamlessly (from measure 189) and leads to the recapitulation in the piano via a somewhat chromatic passage for strings (initially with the final group motif in the oboe).

The recapitulation (from bar 209) initially brings the theme as at the beginning, but now forte and played by the whole orchestra. Compared to the exposition, the recapitulation is initially shortened (e.g. omission of the second appearance of the main theme) and changed, the final group has been expanded with a coda . The oboe motif is expanded, and the main theme is given three more appearances: in the tonic in B flat major (from bar 279), the dominant in F major (from bar 286) with organ point on F in the bass and finally with dance accompaniment again in B flat Major (from measure 300). Fanfare-like chord melodies in B flat major end the movement.

Second movement: Adagio

F major, 3/4 time, 86 bars

The movement begins with a solemn, chorale-like first theme, which is made up of building blocks of two bars each. The first movement is played only by the strings, the last movement with the participation of the winds. The antecedent is then repeated as a variant before - without any further transition - the second theme begins in the dominant C major (from bar 15), with an ascending line and of a melancholy character. The second topic is derived from the postscript to the first. Both themes are very singing (the 1st violin, which carries the melody line, is entitled “cantabile” = singing at the beginning of the movement) in wide curves and thus contrast with the small-scale motifs of the previous movement.

The chromatically colored follow-up to the second theme is repeated and then goes straight to the development (from bar 26, forte). This is characterized by continuous sextole chains in the violins and the processing of the material from the first theme: Follow-up of the theme in A flat major (bar 30), turbidity after minor from bar 34 with the head of the theme next to the sextole chains, Haydn modulates until after A major, where the movement's dramatic climax is.

The recapitulation (from bar 49) is initially similar to the exposition. However, at the beginning of the first theme there is a bound line of the solo cello. The detailed coda begins piano with the theme in oboe and bassoon - accompanied by the sextole chains in cello and violins. In the follow-up (from measure 76), the 2nd oboe, 1st oboe and flute work together to build up the melodic line. After a final increase to fortissimo, the sentence ends calmly with the topic head.

The movement shows some similarities with the Andante cantabile from Mozart's Symphony KV 551 : the same key, the same measure, similar vocal character, similar motifs (especially the second theme from measure 15 in Haydn with measures 28 ff. In Mozart). Since the point with the date on the autograph has been torn off, it is no longer possible to reconstruct exactly when Haydn composed the symphony. Whether Haydn composed the work as early as 1791 or shortly before its premiere in March 1792 is significant for Donald Francis Tovey's statement that the Adagio could be called “almost Haydn's Requiem for Mozart ” (Mozart died in December 1791). Haydn had heard rumors of Mozart's death in December 1791 and was certain of his death in January 1792. Tovey's interpretation was partly accepted uncritically in the older literature. If Haydn had already drafted his symphony in the summer of 1791, Tovey's assumption would be difficult to maintain unless Haydn had subsequently revised the Adagio.

The beginning of the sentence in the Adagios is also reminiscent of the “God save the King”, the “Be gracious” from the seasons of 1801 and the “Agnus dei” from the 1802 harmony mass.

Third movement: Menuet. Allegro

B flat major, 3/4 time, with trio 101 bars

The main theme of the minuet is characterized by its prelude, descending triads, the suggestions for the first measure and the echo-like repetition in the wind instruments. The suggestions and triads are reminiscent of the main theme of the first movement, while the second half of bar 3 is similar to the second half of bar 5 of the Adagio. In contrast to this lively, noisy passage in the forte, there is a quieter piano section for strings with chromatics. At the beginning of the middle section, the theme begins offset, then the flute takes over the voice guidance with a motif in A flat major. From bar 41 the main theme follows like a reprise.

In contrast to the symphonic character of the minuet, the trio is more popular. It is also in B flat major and is characterized by a lyre-like theme, which is initially played by the bassoon and 1st violin, in the middle part also in unison and by the flute.

Fourth movement: Finale. Presto

B flat major, 6/8 time, 386 bars

The first theme is initially only performed by the strings piano with the leading violin. It is upbeat, reminiscent of a rondo theme and has a dance-like character. The eight-bar theme is - like the whole movement - determined by driving eighth notes. It is repeated with the solo oboe leading the voice, and from bar 16 abruptly changes to a forte tutti block. In addition to the eighth note chains, this also picks up a motif of the theme and initially emphasizes the tonic in B flat major, from around bar 32 Haydn changes to the dominant F major, where the music comes to a halt with chord strikes. The head of the first theme now has another appearance (in F major) with the participation of the flute after upbeat attempts in the 1st violin, but changes to minor after two bars and leads to a forte passage, which is emphasized by suggestions is characterized in the bass over running eighth notes of the violins. From bar 65 a new piano motif follows from a broken C major seventh chord with a suggestion. The B of the seventh chord is then "stretched" in full bar notes over B up to C (in flute and 1st violin). The motif is embedded in the stimulating eighth note chain forte repeated. The final group (from bar 87) begins as a “babbling” question-answer motif based on a musical scale. The motif is repeated with dance accompaniment by the bassoon (from bar 102). The rest of the final group is dominated by the driving eighth note chains. The exposure is repeated.

After a general pause, the solo violin begins with the final group theme, but in the harmoniously distant and unexpected A flat major and also with a different, dance-like “cozy” character. The solo violin then loses itself in an upbeat, questioning figure, as if it wanted to bring the first theme (similar to from bar 39). Interrupted by a dramatic, operatic forte unison insert of the tutti, the "comfortable" variant of the final group theme is repeated again from A major (now also with flute), before another dramatic minor section with triad breaks starts from bar 178. This begins in A minor and ends as a fermata in D major (see development of the first movement). In E flat major, the cozy variant of the final group theme then follows again, another approach takes place in C minor. The following, questioning attempts by the solo violin are now successful and bring the first theme from bar 232 with the beginning of the recapitulation.

The recapitulation (from bar 232) is initially shortened compared to the exposition: The first theme is not repeated, but leads straight to the forte block of the transition, and this also changes very quickly to the passage with the emphasized suggestions in the bass (now with clearer, fanfare-like accompaniment of the trumpets) and then on to the theme with the broken seventh chord (now F major). The final group starts again with the “babbling” question-and-answer motif, the expected B major final chord, however, remains absent despite several “double-dot-like” general pauses: Instead, from bar 328 in the coda, the first theme closes in the strings, similar to the beginning of the movement on, but instead of the previous stormy tempo in a much more leisurely "piu moderato" and thus with a completely different character. Despite the slower tempo, there is acceleration in a forte block from bar 335 onwards, as the violins now play fast-paced, virtuoso sixteenth notes (previously no sixteenth notes in Presto). Triad breaks, tremolo and fanfares (horn) already announce the end of the movement, which is, however, delayed again by “double-dot-like” general pauses: Instead of the final chords, the 1st violin starts again from bar 365 with the first theme, accompanied by the other strings and one unison sixteenth note accompaniment of the harpsichord in high register, which causes a somewhat filigree, strumming timbre. From bar 375, a forte block with semiquavers and chord melodies leads the movement to its end with "somewhat doll-like, convulsive 'final bows'" from chord beats.

See also

List of Joseph Haydn's symphonies

Web links, notes

Individual references, comments

  1. ↑ a b c d Vera Baur: Symphony in B flat major, Hob. I: 98. In: Renate Ulm (Ed.): Haydn's London Symphonies. Origin - interpretation - effect. On behalf of the Bavarian Broadcasting Corporation. Joint edition Deutscher Taschenbuch-Verlag Munich and Bärenreiter-Verlag Kassel, 2007, ISBN 978-3-7618-1823-7 , pp. 88–92.
  2. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog of works, Volume I. Schott-Verlag, Mainz 1957.
  3. ↑ a b Information text on Symphony No. 98 in B flat major of the Haydn Festival in Eisenstadt: http://www.haydn107.com/index.php?id=2&sym=98 , as of November 2010
  4. ^ Kurt Pahlen: Symphony of the world. Schweizer Verlagshaus AG, Zurich 1978.
  5. ↑ Reference: the symphonies composed for the first trip to London
  6. ↑ a b c Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , from p. 368.
  7. ↑ Jürgen Mainka: Joseph Haydn: Symphony No. 98 in B flat major Hob. I: 98 (1792). In: Malte Korff (ed.): Concert book orchestral music 1650-1800. Breitkopf & Härtel, Wiesbaden / Leipzig 1991, ISBN 3-7651-0281-4 , pp. 383-384.
  8. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  9. ↑ Koch writes about the use of the harpsichord as an orchestral and continuo instrument around 1802 (!) In his Musikalischen Lexicon , Frankfurt 1802 , under the heading “wing, clavicimbel” (pp. 586-588; please consider that at this time wing = Harpsichord  !): “ ... The other genres of this type of keyboard (ie keel instruments , author's note), namely the spinet and the clavicytherium , have been completely out of use; the grand piano (ie the harpsichord , author's note) is still used in most of the major orchestras, partly to support the singer with the recitative , partly and mainly to fill in the harmony by means of the figured bass ... being strong penetrating sound makes it (ie the grand piano = harpsichord, author's note) very adept at filling the whole thing with full-voiced music; therefore he will probably compete in major opera houses and bey numerous occupation of votes the rank of very useful orchestral instrument until another instrument of equal strength, but more mildness or flexibility of the sound is invented which to lecture the basso well is sent. ... in clay pieces according to the taste of the time, especially with a weak cast of the voices, ... for some time now the grand piano has been swapped for the weaker, but softer, fortepiano . "
  10. ↑ Even James Webster, one of the main proponents of the anti-harpsichord continuo thesis, takes the London symphonies from his idea that Haydn did not use a harpsichord (or other keyboard instrument, especially fortepiano) for continuo playing (“ And, of course "The argument refers exclusively to pre-London symphonies and performances outside England "; in: James Webster: On the Absence of Keyboard Continuo in Haydn's Symphonies. In: Early Music Band 18 No. 4, 1990, pp. 599-608, here : P. 600). This is because the well-documented fact that Haydn conducted the symphonies from the harpsichord (or pianoforte) usually also meant continuo playing at this time (see quotation from Koch's Musicalisches Lexikon , 1802 in the previous footnote).
  11. ^ Robert von Zahn: London Symphony, 2nd episode. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 16. G. Henle-Verlag, Munich 1997, page IX.
  12. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, page 13.
  13. ↑ by Marggraf (2009) addressed as a side topic (second topic), see under web links.
  14. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's sons, Mainz 1959
  15. ↑ Donald Francis Tovey: Symphony in B Flat (Salomon, No. 8; chronological List, No. 98). - Essays in Musical Analysis. Symphonies and other Orchestral Works. London, 1935-1939, p. 352.
  16. ↑ "it might almost be called his Requiem for Mozart (...)."
  17. ↑ For example, Heinrich Eduard Jacob writes ( Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952): “But when Haydn sits down to write No. 98, then he is completely in the shape of the beloved Lost in the shade: then, as Donald Tovey says, he writes the Adagio Cantabile of the second movement as a 'Requiem for Mozart' ”.